British artist Matthew Chambers sculpts stunningly spherical works of art that may seem simple at first, but are quite complex the longer they are perceived. Inspired by Constructivism, architecture and design, Matthew Chambers' sculptures are a geometric vortex of ceramic. An abstract adventure, they pulls their audience into their mesmerizing depth one layer at a time.
Like giant, almost-robotic eyeballs, Matthew Chambers melds natural materials with a contemporary aesthetic that is at once jarring and harmonious. Although mostly working with earthy tones, he does add the ocasional blue and white. In order to create each sculpture, Matthew Chambers adds oxide to the clay before forming the shapes. They are then sanded and polished before and after being fired to ensure the surface becomes opaque, stone-like and soft to the touch.
What Makes This Trend Stand Out
- Geometric Sculptures
- Disruptive innovation opportunity: Explore new ways to incorporate technology, such as 3D printing, into the creation of geometric sculptures.
- Abstract Art
- Disruptive innovation opportunity: Develop immersive virtual reality experiences that allow viewers to interact with and explore abstract art in a digital environment.
- Natural Materials
- Disruptive innovation opportunity: Experiment with sustainable and biodegradable materials to create eco-friendly versions of Matthew Chambers' natural material sculptures.
Sectors Adopting This
- Art and Design
- Disruptive innovation opportunity: Collaborate with technology companies to create interactive art installations that bridge the gap between traditional art and modern technology.
- Interior Design
- Disruptive innovation opportunity: Incorporate Matthew Chambers' ceramic sculptures into interior design projects to add a unique and visually striking element to spaces.
- Sustainable Manufacturing
- Disruptive innovation opportunity: Develop new manufacturing processes that prioritize the use of natural and sustainable materials in the production of artistic and decorative items.
